“The international audience is more interested in indigenous theatre”
Right: Lipon (centre) in Dashrupak's “Bisharjan”.Photo: Mumit M.
To project a strong cultural identity internationally, we need to focus on our own theatre forms -- thinks Sydur Rahman Lipon, theatre teacher, director and actor. Lipon is also of the view that young activists are now taking interest in our indigenous theatre forms. Though he is content with the young directors and actors, Lipon feels that there is a lack of talented young playwrights.
Lipon's initiation to theatre happened in 1988, at his birthplace in Pirojpur. He came to Dhaka and joined Karok Natya Sampraday [at present inactive] in 1992. He was involved with the troupe's plays “Nirbashon Dando” and “Noor Hossain”. In 1995, he enrolled in the Department of Theatre, Dhaka University for post graduation. Later, he joined the department as a teacher.
The theatre activist has so far directed 12 plays and acted in several others. Among the plays directed by him are: Centre for Asian Theatre's “Bhelua Shundari”; Dhaka Theatre's “Na Roi Ramani” and Bogra Theatre's “Kaibarta Bidraho”. Lipon also directed a newer version of “Kamola Ranir Shagordighi” for his department [Professor Syed Jamil Ahmed directed the earlier version]. As an actor, his notable works include Bangladesh Shilpakala Academy's play “Gazi Kalu Champaboti” and Dashrupak's “Bisharjan”. Most of the abovementioned plays have elements borrowed from indigenous theatre forms.
He said that his fascination with folk forms started as a university student. “It was Professor Syed Jamil Ahmed's 'Kamolaranir Shagordighi' that first intrigued me. As a student, I had the opportunity to work on the play. We had a fortnight-long interactive session with Islamuddin Palakar and his troupe, which significantly changed my take on theatre practice,” said Lipon.
The director-actor has staged his plays at overseas festivals. He observed that staging of Shakespeare or Molière adaptations by Bangladeshi troupes at international festivals didn't generate much interest. Rather the international audiences are keener on our indigenous culture, according to Lipon.
“Experimental Theatre Hall at Bangladesh Shilpakala Academy is the only venue fit to stage plays in traditional forms. We often have to rethink before producing a play, as we have a lack of suitable venues,” he said.
Like many other theatre activists, Lipon also thinks that professional theatre practice is essential. Although professionalism in theatre is still a far cry, according to him, activists were aware of professionalism since the 1990s.
In the 2000s, initiation of repertory troupes such as Bangla Theatre has sown the seeds of such practice. In recent times, several functioning repertory troupes including Theatrewala, Dashrupak and Shunnon are one step closer to that dream.
“I hope, in near future, we will see full-fledged professional theatre practice in our country,” said Lipon.
Lipon believes that constructive criticism of plays in newspapers and other mediums can inspire the art form.
Comments